What remains is not the object itself, but the feeling of having known it.
I paint from memory rather than observation. My work begins with familiar images such as roadside structures, maps, childhood objects but they are quickly disrupted, layered, and partially erased. What remains is not the object itself, but the feeling of having known it. Much of the work draws from Southern landscape and American visual culture. A map becomes a memory. An object becomes an afterimage. The paintings hold onto something while allowing it to fade at the same time.
The surfaces are built through accumulation and removal: blocks of color, fragments of text, and gestural marks that suggest place without fully describing it. I’m interested in the space between recognition and anonymity, where an image is still legible, but slipping.
My work also explores atmospheric conditions and how it influences, changes and effects our world on a daily basis. Capturing the water vapor in the air by way of color, shape and form is my goal. Each work begins with quick brushstrokes of color in a repetitive motion like a daily prayer of mark making. My vertical brushstrokes, inspired by flowering moss, drape the work with old stories and memories. The feeling of the objects drip of the past like reoccurring dreams.